Dominion Day entertainment at Prospera Place

Introduction

The doctrine of the ‘Body of Light’ is replete throughout Western esoteric literature. Unfortunately, while many references are made to the concept, little information is supplied regarding its origin (or formation), stages of growth, and applications. The purpose of this document is to supply qabalistic and alchemical students with a workable esoteric theory, and practical technique, regarding this often obscure subject.

Theoretical and Historical Background

The origin of the “body of light” is seen in gnostic literature as early as the first century. However, extensive documentation and theory exist in Chinese, Mongolian, Tibetan, and Indian literature and practices of an earlier date. Under the general heading of chi kung, or Chinese internal alchemy, these practices are designed to create and mature a body of subtle astral and etheric energy that is capable of existence independent of material consciousness. This body is also thought to be capable of infusing the material body with sufficient energy to allow it to become more subtle and ‘etherial’. This ‘etherialization’ is said to make the physical body, under the direction of the adept, capable of de-materialization at the time of death. Enoch, Ezekiel, the ascension of Jesus, his mother Mary, and even Mohammed with his horse, are often given as examples of this form of dematerialization in Western spiritual literature.

Unfortunately, while Eastern systems have maintained a working technical tradition of the theory and its application needed to achieve this goal, little information remains in the West of a similar nature. The idea of the ‘simulacrum’ is the closest we have, and may very well be the starting point of such experimentation. It can be seen from the Eastern literature available, that the idea of the “Body of Light” often called the “Rainbow” or “Diamond Body” is the perfection of a vehicle for the exteriorization (projection), and continuation of consciousness beyond material reality. This paper will attempt to show how the development of this body can be achieved through existing qabalistic practices, and that the stages of its growth corresponds to total realization on the Lunar (Yetzirah), Solar (Briah), and Saturnian (Daath) planes of consciousness.

It is important to realize what is meant by these ‘planes’ however, as they can be confusing when first encountered as an esoteric teaching. When the Cosmic created the universe, humanity, or the ‘human seed’, that aspect of consciousness which was to grow into realization of godhood, descended from primal unity. This unity is symbolized by the Divine World of Atzilooth, and the Holy Upper Trinity in the Tree of Life.

When consciousness experiences increasing levels of density as matter is created, duality forms and continues to the material world. This first descent from unity to duality is the so-called “Fall” and to prevent a premature return to Unity, that is before all of creation could be encountered, a barrier was placed called in qabalistic literature, the Abyss. This is the “First Day of Creation” or appearance of time/space. As the descent continued, the human seed experienced progressive levels of sexual polarization as well as being further removed from its memory of Divine consciousness. After the level of Divine Harmony in creation, or Tiphareth, the center of humanity's sense of self, an additional barrier was created, the Veil, or Paroketh. This is the appearance of individuality free of the Divine spark. Finally, a third barrier of Veil is encountered, and that is what separates material creation from the psychic and spiritual worlds. Here, humanity has no memory of its Divine origin, and has complete free will to seek what it desires.

Dolores Ashcroft-Nowicki, states, “When working in this way [Pathworking] you are using the astral body, and you know already about your Magical Personality1) which has been quietly growing in strength with each month’s work. But there is another form used by some magicians, the Body of Light. Some think that it is the same as the astral body, but it is in fact quite different. The astral is an etheric form common to everyone, a Magical Personality is acquired through practice and concentration. The Body of Light is deliberately built for a purpose, another term for it is ‘cowan’. It is not easily formed, some people never manage it, or at least not fully, and once it is formed it can be troublesome, and requires firm handling.” P. 153, The Ritual Magic Workbook Ms. Ashcroft-Nowicki further states that the Body of Light can acquire a kind of ‘self consciousness’ after a period of development. This idea is also stated in Tibetan and Chinese literature. The small ‘child of light’ is often compared to a fetus in the astral womb of the practitioner’s aura and temple. It must be matured, fed, educated, and grown to proper strength so that is can be a help to the magician and not a hindrance, or even potential danger. However, like in all occult activity, dangers come more often from rushing through preliminary work instead of allowing it to proceed in a healthy and natural pace, than from the exercises themselves actually being psychically dangerous. She also goes on to say that few Western magicians have ever been able to master the technique fully, although no reasons are given. When we attempt esoteric exercises and a return to Primal Unity, we must pierce the first Veil, or that of the Gate of Life and Death. So called, because few people pierce it except during near-death-experiences (NDE’s), Out-of-Body experiences (OOBE’s), or physical death itself. The astral body has access to three levels of consciousness, and then must be shed, encountering the ‘Second Death” in order to penetrate the Veil, or Paroketh, to the next three levels. However, precautions must be undertaken to avoid the destruction of the astral body if the Second Death is to be avoided. If this is not done, then it must be reconstructed with a new birth. Above the Solar World, the Resurrection Body is established, and it is the ‘body’ or expression of consciousness used for Reintergration to Unity.2)

It is possible, as this paper will attempt to show, that just as there is confusion among some students regarding the Body of Light as being the astral body, there may also be confusion regarding its actual purpose — that of extended consciousness, or ‘surviving the Second Death’. When its function is clearly understood, then greater attempts can be made to realize its full potential. Mead and the Subtle Body: GRS Mead wrote a booklet around the turn of the century titled, The Doctrine of the Subtle Body in the Western Tradition. It very well may be one of the few books dedicated to this subject available, and while it is full of scholarly research regarding the theories and beliefs regarding the subtle body, it lacks any description of the techniques used to experience it. The material quoted is almost exclusively Gnostic-Christian in origin: Mead states that the doctrine of the subtle body achieved its highest expression in India, although he may have been unaware of other oriental teachings, and that notions of the subtle body develop along with those of alchemy and astrology. This is both true in East and West, and is seen in the techniques often suggested for use by the student. This astrology has nothing to do with “..vulgar horoscopy, philosophic astral theory set up a ladder of ascent from the earth to the light world.” (p.9) Mead also states: “But even as there was a deeper, more vital, side of astrology, a subtler phase intimately bound up with the highest themes of sidereal religion, so there was a supra-physical, vital and psychic side to alchemy — a scale of ascent leading finally to man’s perfection in spiritual reality.” (p.13)

Mead also states that Zosimus states catagorecally that the Rites of Mithras were identical in purpose to the practices of alchemy, and is the only complete ritual of the Mithrian cult that has survived to present time, and its theurgical practices are similar to Indian yoga. (p.30) The ritual also states clearly that it is the method whereby spiritual perfection and birth of the subtle body are attained. As in the Sepher Yetzirah and the Golem, the body of Light is often suggested.

Three Levels of Light: The three basic ideas around the subtle body are that it progresses though the levels of the spheres, increases in power and purity, and is made of light and/or fire. It is described as : the spirit-body, the radiant body, and the resurrection body, depending on its degree of purity. Mead points out that there is the possibility of extreme confusion when reading the ancient literature and the vocabulary used to describe the spiritual body. Despite appearances to the contrary, Mead asserts that the spiritual body is essentially one, and that the sidereal body, has nothing to do with today’s (1919) astral body. The Spirit-Body, orsoma pheumatikon, is the force closely aligned to the physical body. Similar to the nephesch, or vegetative-animal soul, in Jewish Qabalah. The Radiant Body, allows us to experience the Vision of Beauty Triumphant as referred to in modern qabalistic schools: “Tiphareth translates to Beauty. It is located on the Pillar of Balance which is the Pillar of consciousness and corresponds, we are told, to the highest state in which a man incarnate on this earth can live, that is, a man “of flesh and blood.” This does not mean that he cannot receive the influences of the higher sepheroth (higher according to the Tree), perceive or live something of their nature and mode of action. This means that a man capable of remaining in Tiphareth has “spiritualized” his matter, has formed his glorious body and has obtained the power to go beyond incarnation.” “There was a time when we they could behold Beauty in all its brilliance, when, together with the rest of the Blessed Company — we [philosophers] in the train of Zeus, and other [ranks of souls] in the train of the Gods — they both beheld the beatific spectacle and [divine] vision, and where initiated into that mystery, which may be called the holiest of all, in which we joyed in mystic ecstasy.” (p. 58) Proclus states,

“Moreover, the radiant vehicle (augoeides ochema) [corresponds] with heaven, and this mortal [frame] with the sublunary [region]”. While the Christian doctrine of the resurrection of the flesh was hotly contested during its developmental stages, with the ‘flesh lovers as they were called, winning out over those believing in a purely spiritual resurrection. Mead points out that the belief in physical resurrection was not universally accepted by the Jews of Jesus’ day, yet, there was a strong Biblical and midrashic tradition of increasing in grades of purity of the individual allowing for ascension and resurrection to take place. The descriptions of these accounts, Elijah and Jesus, suggest that the bodies they inhabited were the same, and yet not the same. They were tangible, yet could overcome material limitations, such as Jesus’ passing through the locked door. Elijah, unlike Jesus however, did not die, but was taken into heaven bodily in a chariot of fire. These ‘bodies’ in fact, are not really separate bodies, but increasingly purified expressions of the personality, the individual and unique expression of God we all carry within us. As one ‘body’ or expression is purified and ‘dies’ another takes its place. What makes the resurrection body different is that while it can and does exist within the material world, it is free from material constraints. This perfect body was, or is, essentially a quintessence. It is differentiated into subtle and simple elements, where as the physical body is contaminated by the grosser elements. The Mithraic initiation states:“O Primal Origin of my origination; Thou Primal Substance of my substance; First Breath of breath, the breath that is in me; First Fire, God-given for the Blending of the blendings in me; First Fire of fire in me; First Water of my water, the water in me; Primal Earth-essence of the earthly essence in me; Thou Perfect Body of me!..” (p. 102, and A Mithraic Ritual, London 1907)

The technique suggested by Ashcroft-Nowicki is the simplest and most direct. However, while no specific rituals are employed, as in A.S. method, it is suggested that the ritual be performed in a consecrated temple to prevent the simulacrum from wondering. She also states that when the B.O.L. is sufficiently developed to begin to desire acting on its own, that it should be given firm disciplining.“With the constant implanting of consciousness, even the tiny amount used here, the cowan [Body of Light] will eventually gain a half conscious mind of its own. You will in fact have partially ensouled it. At this point, it will almost certainly make a bid for freedom. Something you cannot allow for it has no protection against the darker forces who will take it over and use it against you and even against those with whom you are involved. They will think it is you and trust the appearance. Therefore the moment you feel as if the cowan is getting above itself, give it a good psychic shake, and in no uncertain terms remind it who is boss.” She then suggests withdrawing all contact with the cowan for a lunar month, and to feel no sympathy for this self-created and projected aspect of ourselves. To do otherwise, she warns, is to court disaster. This would in fact, be tantamount to “the Fall” in our own personal microcosm. Yet despite these warnings, and problems, the creation of the BOL, even partially, can be a very rewarding psychic and spiritual experience. It offers many avenues for psychological cleansing, as we shall see, and psychic enhancement. These four directives: going slow, performing in a sacred space or enclosure, preventing it from wondering, and reminding the BOL who is boss, are common to Eastern and Western methods of creating the BOL. What is missing in the modern accounts, but clearly stated in the Oriental ones, is that the BOL is a superior being to physical world, and can be directed to have effects on the physical body, if they are desired. It is these effects which allow for the etherialization of the physical body, increased health, longevity, and possibly even a kind of ‘psychic mutation’ that allows for increased psychic activity along family lines. The Western schools are silent about what the implications of the Hermetic axiom, “The subtle rules the dense” and how it might apply here. Despite the projective imagery, the genuine sense of the simulacrum being ‘other’, and unconscious, often violent imagery that can be dredged up from a nephesch (subconscious) that doesn’t want to be integrated into the workings of the ruach (Mental-Spiritual functions), the BOL is still a part of us. By disciplining it, giving it function and purpose, and guiding it with a firm hand, we are in reality giving those things to our self. The simulacrum however, shows us in no uncertain terms, that these forces and ideas within us, left unregenerated and when given the opportunity, will seek to manifest, and to take on self-consciousness. In magical work we see this clearly in the creation of the BOL; in psychology in neurotic and schizophrenic behavior; and even in severe forms of psychosis. Esoteric work allows us to address these diverse aspects of our being, to integrate them, and in doing so, to prevent psychic ruptures that might otherwise manifest in modern terms as mental illness. The following method can be performed by anyone regardless of their level of experience. Ideally however, it would be best if it is done during the third or fourth year of qabalistic study. The reasons for this are simple: the more experience you have in psychic and occult matters, the easier it will be to achieve noticeable success. In addition, the required skills of concentration, visualization, and creating a strong working environment for psychic activity will have become second nature. In relation to what has been said previously, by the third or fourth year of study, the aspiring qabalistic magician will hopefully have worked through some of their more obvious psychological issues, as seen and experienced through the multi-colored glasses of the Lesser Pentagram and Hexagram Rituals. Previous experience with planetary invocations will make some of the following instructions easier. Within the Hermetic Order of the Golden Dawn, the first 3-3 ½ years is spent learning very basic magical procedures, coupled with the memorization and intellectual comprehension of a vast amount of qabalistic, alchemical, and astrological knowledge. The techniques given by Regardie in The Golden Dawn, such as the Supreme Rituals of the Pentagram and Hexagram, and the Rose+Cross Ritual, are not generally taught until the 5=5 Grade, or Adeptus Minor. On occasion, they may be given in the preliminary section, known as the Portal Grade. All magical tools are also constructed after being received into the Second Order, or Adeptus Minor grade. Only after this period are planetary rituals, talismans, and related techniques as seen in Regardie’s work undertaken.4) For those who do not belong to any formal course of study, it is generally suggested that the first year of activity be spent learning Elemental and Pentagram work. The second year doing planetary work; with the third year being spent integrating the two. The fourth year often focuses on zodiacal magic and the completion of any Pathworking. Pathworking can be started anywhere from the first year on and requires about 1 1/2 years to fully do all of the 32 Paths of the Tree of Life. Since each Path is often done more than once, it is best to allow two to three years for this additional aspect of magical training. Pathworking, particularly Paths 32 through 24 are critical for psychological health and should be done two or three times before doing the second set of Paths, or 23 through 19.5) Of course, the speed at which one works is not important. It is better to go slowly and diligently and make real progress, than to rush through and simply do the work haphazardly. The most complete method available for creating the Body of Light is in the ritual called “The Magician” in Mysteria Magica, vol 3 of The Magical Philosophy by Melita Denning and Osborne Phillips.6) The material belongs to the curriculum of the Aurlem Solis Sacra Verbum. The ritual is divided into five main sections, composed of fourteen distinct parts in total. A note belonging to the title suggests that the ritual is considered most effective when performed at the beginning of the day. Presumably, during the first planetary hour of the day.

Among the most important points in gnostic and Platonic literature is the need to separate the subtle body from the physical body for its purification. This imagined, and eventually real separation, forms the core of the technique. Only by freeing the psychic self from the constraints of material life can we experience the full degree of good and evil in our psyche. The methodical and militant purification of our psyche and integration of its diverse aspects constitutes the most difficult, and rewarding, psycho-spiritual practices known.

Preliminaries: The temple area should be set as usual, with alter in the middle, or slightly East of center. If possible, wear a consecrated Rose+Cross present, and place the Pentacle of Earth on the altar.7). Establishing the Temple: Perform the Banishing Ritual of the Lesser or Greater Pentagram.8)

Higher Self: Place your left hand, the hand of Mercy, upon the Earth Pantacle. Invoke the presence of your Higher Self. Imagine in brilliant phosphorescence a flaming sphere, or flaming yod, touching your crown and uniting you with the cosmos. Stand in the posture of the Adeptus Minor. (Tau Cross, arms outstretched).

Lower arms and meditate on the significance of your Higher Self, this flame of Creation within you. This cosmic seed. Perform the Middle Pillar exercise.: Affirm your intentions for performing this exercise, and appreciation for consciousness and the opportunity to develop in awareness and Service. Ask that Light, Life, and Love be expressed in every cell, thought, and action of your being. The Lower Self: Turning clockwise, face the West of the Temple. Pause and imagine the great streams of energy circulating through your physical and psychic bodies. Energize your heart center, feeling a stream of energy running from your crown to your heart, and feet, and back up again. Affirm your position of authority over your lower self and physical body in a loving, but firm manner. Be thankful that they are present to serve you, but that they are at the service of the development of Self, and not as independent beings. Assume the position of the Adeptus Minor, and imagine yourself growing to a vast and immense size. Maintain or reformulate your Flaming Crown center. Feeling most of your consciousness operating from inside of it. Send thoughts of blessing, love, good health, and well being to your lower self and guph. Pause for a few moments as the feeling of vastness disappears and you return to normal awareness of the temple. Turn to the East and ask that the Powers of the Higher Self be present and fully utilized for this operation and at all times forward. Move to the eastern Quarter and Face the West again. Perform the Middle Pillar a second time if needed. Project the simulacrum from the solar plexus, upper abdomen region. Have it facing East, or toward the operator, with the silvery-bluish cord visible between the simulacrum and the operator’s abdomen or solar plexus.

Exhortation and Instruction: In the Name of your Higher Self, address the image before you firmly and lovingly that it is to give your full assistance in the Great Work. If any particular instruction, assistance, or additional work is needed, it is to be interjected here. Give blessing to your Nephesh, in the Name of the Most High, and thank it for its participation in this ritual.

Energize and imagine the simulacrum attaining a high degree of integration. Completion: Re-absorb the simulacrum and the silver cord by imaging it return to a cloud or mist of bright bluish-gray or silver psychic protoplasm and collapsing backward along the cord (bring the cord with it) into your body at the level it was projected from. Close down firmly. Feel the energy move throughout your body and sink deep into your muscles, bones, marrow, and envelope you in a body of light, just below the surface of the skin. Rejoice in the successful operation.

Instructing the Simulacrum: After a two or three weeks of successful projection and reabsorbing of the simulacrum, you can begin projecting specific ideas into it. This can be done in several ways depending on your personal preference. First, use a general plan of associating the simulacrum with the planets, by imagining them along the spinal column from Saturn at the base, to Luna and Sol at the head. Imagine them in bright white light, or the Queens Color Scale. Using the colors, symbols, and sounds of the planets, the simulacrum can be tincted with particular qualities and virtues. Or imagine counterparts of physical organs inside the simulacrum and them having the colors and sounds of their planetary counterparts, filling the whole image with the light and sense and virtues of that planet.

This is the Lunar, or Astral purification of the simulacrum so that it can be rightly called a Silver Body, as it will be influenced and influential upon the Lunar and Astral worlds as a whole. At some point you can then begin to educate it further, that it might become a Solar, or Golden, Radiant Body, influenced by the Briactic Worlds. Beyond this, it would find perfection in the Diamond, or Resurrection Body, under the influence of the Sphere of Saturn. Also, practice performing the Middle Pillar inside the simulacrum, after it has been projected. Always reabsorb the energy, either as a mist, or a shadow image fusing itself into your earthly body. When venturing into the Quarters, use the simulacrum and tune it to the Element you seek to explore, making it a body of Fire, Air, Water, or Earth. When generally projected, it should be thought of as a body of Quintessence, or Spirit, of dynamic electric and magnetic qualities containing within it the balanced potential for all bodies of the four Elements. The simulacrum can also be projected and modified to a deific image or godform. The effects of this are different than the usual methods for Assumption of the Godform. In this instance it is helpful to grow the image in size and stature to a larger than normal appearance after it has been created. It is important that your consciousness be projected firmly into the simulacrum during any working, and that the energy be completely reabsorbed after it is over. The simulacrum can be charged with Hebrew letters. Engraving them according to there location and association with the physical organs as outlined in the Sepher Yetzirah. This can be done to the physical body as well, prior to projection of the simulacrum, and will assist in its creation and projection.9) The letters can be done in blazing white, or according to the Queen’s Scale. It can also be charged with the Tetragrammaton, in the normal Y (Head) Heh (Shoulders) Vau (Spine) Heh (Hips Feet) fashion. As with the alphabet, they should be seen as existing inside the figure, glowing and strong, and not carved on the surface, or projected onto it from elsewhere. The purpose of the simulacrum is to create a vehicle for the purification and expression of astral (Yetziric) and mental (Briah) energies. As such, it also acts as a bridge between not just our objective and subjective worlds, but also between our emotional and physical realities. As stated, we can in effect, alter our physical appearance and health through proper and loving purification of our astral matrix. The Nephesch, which constitutes the bulk of the ‘self’ that we are refining in this work, overlaps and connects the worlds of matter (forming our Salt) and mind (forming our Mercury). When we address it from the perspective of our Kether, we are adding the third Essential, or the overlap of Mind and Spirit (forming our Sulfur). These Four Qabalstic Worlds and their overlapping, forming the Three Essentials, form the basis for inner and outer alchemy. The 27th Path is also a sort of Kundalini Yoga exercise, whereas the 24th Path is the arousal of Kundalini. Where the 27th connects Natural Energy to the Intellectual World, the 24th Path converts Solar (soul) energy into Natural (psychic) energy. Both are under the influence of Mars, or Will, as they reverse the flow of Mezla, and clear out psychic blockages on the Path of Return. This exercise will have secondary effects on the 24th Path, and some effects on the 28th Path (Net-Yes) as this Path governs the flow of Psychic energy through our Psychic centers. All of the Paths of Yetzirah will be effected to some degree by this exercise. We cannot ascend and take our mistaken ideas with us, or our passions and lusts. Both are eradicated, disciplined, or redirected by the Sword of Geburah, or an Enlightened Will. The Lightning Bolt on the tarot card the Tower, sometimes called the House of God (Deu) or Fire (Feu) shows us that the ever flowing lightning bolt of Mezla will destroy any imperfections that it comes in contact with. 1) The Magical Personality is defined as a self-created image of one’s self that allows for greater power and presence when doing esoteric work. 2) See: Fundamentals of Esoteric Knowledge, Lesson 1-3. The Philosopher’s of Nature (PON), Wheaton, Ill. ©1988. 3) See: Qabala Course, Lesson 17. The Philosophers of Nature (PON), Wheaton, Ill. © 1995.

4) See: Self-Initiation into the Golden Dawn Tradition by Chic and Sandra Tabatha Cicero. Llewellyn Publications. Saint Paul, MN. Copyright 1995 5) For more information on Pathworking see: PON Qabala Course, Lessons through . Highways of the Mind by Dolores Ashcroft-Nowicki, and Magical States of Consciousness by Melita Denning and Osborne Phillips. 6) P. 359-362.

7) As mentioned, in the Hermetic Order of the Golden Dawn, the Hermetic Rose+Cross and the Pantacle of Earth are ‘adept level’ tools. In The Philosopher’s of Nature (PON) Qabala Course, they are not constructed until the very end of the six year course. However, the Supreme Pentagram and Hexagram rituals are presented in the second year. 8) Use of the ‘Elemental Grade Signs’ or the ‘Rending of the Veil’ is at the performers discretion.

9) One student who did this noted that the simulacrum was more vital, but also slightly more difficult to control. They also noted, they when they imagined the letters within their physical body when falling asleep, that astral projection occurred rapidly, often before the fifth or sixth letter was reached.

hermetic.com/stavish/essays/bodylight

The Advanced Middle Pillar Ritual: The Middle Pillar ritual seems to be a ritual that one can progressively build upon. Visualization of the 5 central spheres and reciting the corresponding God-names is obviously the foundation. From there on, I have begun incorporating the remainder of the spheres - and also reciting the Angelic correspondences too (Metatron - Raphael - Gabriel - Sandalphon). Upon adding these to the ritual - it has become considerably more powerful (in terms of how strongly it alters my consciousness) and immersive. I am looking to further energize and advance the ritual. From those of you who have developed their own Middle Pillar Ritual - what have you specifically done, and what has been in the effect? Also, do you supplement the process by topping it off with another ritual (Bornless Ritual, LIRP, etc...) This practice is based on the symbolism of the Middle Pillar of the qabalistic Tree of Life. Alternately, this pillar is known by the titles Equilibrium, Balance, or Mildness. The Middle Pillar Exercise imagines bright spiritual light descending and flowing through the central axis of the body, marked by a series of energy centers (circles 1, 6, 9, 10, and the unmarked throat center in the diagram). Visualizing certain colors and using intense vocalization, called vibration, of the associated name of G-d activates these centers. Then the light is circulated, or directed into a certain pattern of flow, throughout the whole energy field. This practice connects us to the Divine, clears and recharges our personal energy field, and increases our capacity to channel spiritual energy. Additionally, it brings us a sense of peace and harmonious balance. Many teachers recommend performing a clearing ritual prior to practicing the Middle Pillar Exercise. The Lesser Banishing Ritual of the Pentagram (LBRP) is frequently used. I have used the Middle Pillar Exercise with students for many years without a prefatory clearing ritual and with no ill effects. However, if you feel your energy is disproportionately out-of-balance, please consider using the LBRP or otherwise setting sacred space before beginning this meditation.The name of the exercise is taken from the position of the central Sephiroth on the diagrammatic Tree of Life.

As has been said... "The Secret of Wisdom can be discerned only from the place of balanced power" - that is, from between the pillars of Severity and Mercy. The Middle Pillar positions us at a balanced point, neutralizing to some extent the swing of the psychic pendulum from one extreme to the other.

In this exercise we will visualize the sephiroth of the middle pillar as part of our bodies, illuminating them in descending order while vibrating the sephiroth's divine name. This establishes balance and fills us with energy.Once the middle pillar is 'lit' we will circle the energy around and through our bodies, to cleanse and fortify. Think of the names as vibratory rates.

The exercise can be performed standing, sitting, or lying down. Names can be vibrated aloud or internally.Kether

After a few minutes of relaxation, imagine a sphere of white light just above your head. Vibrate the name Eheieh (pronounced Eh-hey-yay, meaning I am). Keep vibrating this word until it is the only thought in your conscious mind. Then imagine a shaft of light descending from your Kether center to your Daath center at the nape of the neck.

Daath: Form a sphere of light at the Daath center. Vibrate the name YHVH Elohim (pronounced Yode-heh-vav-heh El-oh-heem, meaning Lord of Hosts).

Tiphareth: Bring a shaft of light down from the Daath center to the Tiphareth center around your heart. Form a sphere of light there. Vibrate the name YHVH Eloah ve-Daath (pronounced Yode-heh-vav-heh El-oh-ah v’-Dah-ath, meaning Lord of Knowledge).

Yesod: See the shaft of light descending from Tiphareth into the Yesod center in the genital region. Imagine a sphere of light formed there. Intone the name Shaddai El Chai (pronounced Shah-dye El-Chai meaning Almighty Living God.

Malkuth: Visualize the shaft of light descending from Yesod into your Malkuth center at the feet and ankles. Vibrate the name Adonai ha-Aretz (pronounced Ah-doe-nye ha-Ah-retz, meaning Lord of Earth). Visualize the Middle Pillar complete.

Circulating the light: Then circulate the light you have brought down through the Middle Pillar around the outside of your body to strengthen your aura (Perform each circulation a number of times.): Circulation One: Side to Side. Using the cycles of rhythmic breathing, bring the light down one side of the body and up the other, from Kether to Malkuth and back to Kether. Exhale and visualize the light descending the left side of the body. Inhale and imagine the light ascending the right side of the body back to Kether.. Circulation Two: Front to Back:

After performing this for a short space of time, imagine the ribbon of light descending from Kether down the front of your body to Malkuth and rising up your back, returning again to Kether. Circulation Three: The Shower of Light Still employing rhythmic breathing, visualize the sphere of Malkuth, then see the shaft of light rising up the Middle Pillar in the center of your body. When it reaches Kether, imagine a shower of light cascading down the outside of your body as it descends to Malkuth again. Circulate the light in this manner for some time. Circulation Four: The Ascending Spiral Then see the light rise again in a ribbon that spirals around the outside of your body from Malkuth to Kether. Closing Finally focus some of the energy back into your Tiphareth center, the seat of equilibrium and balance.

Often, the Middle Pillar is combined with the Lesser Banishing Ritual of the Pentagram (see also Site "Rituals") To do this:

Perform the opening Kabalistic Cross .Formulate the Pentagrams

Call the Archangels: Perform the Middle Pillar exercise

Perform the closing Kabalistic Cross. The Lesser Banishing Ritual of the Pentagram. The Kabalistic Cross: Face east. Perform the Kabalistic Cross as follows:. Imagine a sphere of light just above the crown of your head. Touch the forehead and vibrate Ateh (Thou Art, or, Unto Thee) Bring hand down the body. At about the level of the genitals, indicate the feet and vibrate Malkuth (The Kingdom) Imagine a shaft of light descending from the Crown Sphere to the feet where another sphere expands just under your feet. Touch the right shoulder and vibrate Ve-Geburah (and The Power) Imagine a 6 inch sphere of brilliant white light appear just next to the right shoulder.

Touch the left shoulder and vibrate Ve-Gedulah (and The Glory)

Imagine a shaft of light emerge from the right Sphere and cross your breast to expand and form another Sphere at your left shoulder. Clasp the hands before you and vibrate Le-Olam (For Ever) Imagine clearly the cross of light as it extends through your body.

Amen.

The Pentagrams

Draw, in the air facing east, a banishing Earth Pentagram (Begin at the lower left corner and trace clockwise). Bringing your hand to the center of the Pentagram, vibrate the Name Y H V H (pronounced Yahd Hey Vau Hey)

Trace a semicircle before you as you turn toward the south. Again trace the Pentagram, bring your hand to the center of it, and vibrate the Name Adonai, (pronounced Ah-Do-Neye)

Again, trace the semicircle with the dagger to the west, trace the Pentagram, bring your hand to the center, and vibrate the Name Eheieh, (pronounced Eh-Hey-Yay)

Then, turn towards the north, trace the circle, trace the Pentagram, bring your hand to the center and vibrate the Name AGLA, (pronounced either Ah-Gah-Lah or Atah Gibor Le-Olahm Adonai) Return to the EAST, completing tracing the circle of Light, bringing your hand to the center of the east Pentagram.

The Archangels

Extend the arms in the form of a cross, say:

Before me (then vibrate) Raphael

Behind me (then vibrate) Gabriel

At my right hand (then vibrate) Michael

At my left hand (then vibrate) Ariel

About me flames the pentagrams, and in the column shines the six-rayed star.

At this point, perform the Middle Pillar exercise

Repeat the Kabalistic Cross

Adding Color

Once the ritual becomes familiar, try adding color to the spheres. While white light contains all colors within it, visualizing the spheres in color can strengthen the individual energy of each.

Colors in the Middle Pillar

Kether – White

Daath – Lavender or grey

Tiphareth - Yellow

Yesod – Violet

Malkuth – Traditionally a swirl of russet, olive, citrine and black. Or simply brown.

Colors in the LBR

Ateh – White

Malkuth – Brown, or russet – olive - citrine – black

Ve-Geburah – Red

Ve – Gedula – Blue

Le-Olam – Yellow

Visualize the complete cross in white.

East - a yellow pentagram

South – a red pentagram

West – a blue pentagram

North – a green pentagram

aethyrea.blogspot.com/p/middle-pillar.html

Streatham Hill Theatre, London. Designed by W R G Sprague and W H Barton, the theatre opened in 1929 with close on 3,000 seats over three levels. It was badly damaged in WW2, but restored and reopened in 1950. Later becoming a bingo hall, it is now in use as a church, but the highly ornate interior is almost intact. Grade 2 listed. Seen on a London Open City, Open House day 2026.

London Borough of Lambeth, Streatham Hill, London, England - Streatham Hill Theatre Ruach Church, Streatham Hill / Barrhill Road / Blairderry Road

September 2026

former Gaumont State Theatre, Kilburn. Opened as the Gaumont State in December 1937 with a stage show, the first film following 7 days later. Designed by George Coles, it was the largest cinema built in England, with 4,004 seats in stalls and balcony. There was a full stage with a fly tower, scenery workshop, large orchestra pit, and 20 dressing rooms. Elsewhere in the vast building was a restaurant seating 400, and extremely opulent and spacious foyers. In 1960 the huge rear stalls area under the balcony was sealed off to become a ballroom (later bingo hall), leaving the front stalls and balcony as a cinema / theatre seating 2,042. The restaurant became a second screen in 1975. The main screen closed in September 1980, followed by the second screen in 1981. The sub-divided stalls were restored as a single unit for bingo on a levelled floor. The second screen reopened as the Odeon, 1985 until 1990. The bingo club (Mecca) closed in August 2007 and the building was shuttered, eventually being sold as a church in 2008, however planning permission was protracted, and eventually the State reopened under the control of Ruach City Church in July 2010, since then much restoration work has taken place. The State is grade 2* listed.

Kilburn, London Borough of Brent, North London, England - Ruach City Church (former Gaumont State Theatre), Kilburn High Road / Willesden Lane

August 2022

Merkava Mk 4M Windbreaker main battle tank, Israel

טנק מרכבה סימן 4מ עם "מעיל רוח", ישראל

The Merkava Mk 4M is the latest generation of the Israeli Merkava tank series, preceded by Mk 1, Mk 2, Mk 3 and Mk3 Baz. The Merkava is designed and manufactured in Israel by the Ministry of Defense, the IDF and Israeli defense industries. The Merkava Mk 4M is armed with an IMI 120 mm smoothbore gun, a remote-controlled M2 Browning 0.5 cal heavy machine gun, a coaxial FN MAG machine gun, a commander FN MAG 7.62x51 mm machine gun and an internal 60 mm mortar. The tank is shield with state-of-the-art armor, including the TROPHY active protection system - called "Windbreaker" in Hebrew ("Meyil Ruach"). The tank is powered by a strong 1500 HP (1,120 kW) diesel engine with enhanced transmission and hard-duty tracks system. In addition the tank is equipped with state-of-the-art C4ISTAR systems and digitial battle management system which integrates with the IDF's Tzayad (Digital Ground Army) network.

former Gaumont State Theatre, Kilburn. Opened as the Gaumont State in December 1937 with a stage show, the first film following 7 days later. Designed by George Coles, it was the largest cinema built in England, with 4,004 seats in stalls and balcony. There was a full stage with a fly tower, scenery workshop, large orchestra pit, and 20 dressing rooms. Elsewhere in the vast building was a restaurant seating 400, and extremely opulent and spacious foyers. In 1960 the huge rear stalls area under the balcony was sealed off to become a ballroom (later bingo hall), leaving the front stalls and balcony as a cinema / theatre seating 2,042. The restaurant became a second screen in 1975. The main screen closed in September 1980, followed by the second screen in 1981. The sub-divided stalls were restored as a single unit for bingo on a levelled floor. The second screen reopened as the Odeon, 1985 until 1990. The bingo club (Mecca) closed in August 2007 and the building was shuttered, eventually being sold as a church in 2008, however planning permission was protracted, and eventually the State reopened under the control of Ruach City Church in July 2010, since then much restoration work has taken place. The State is grade 2* listed.

www.ruachcitychurch.org/locations

Kilburn, London Borough of Brent, North London, England - Ruach City Church (former Gaumont State Theatre), Kilburn High Road / Willesden Lane

August 2022

Rock wall

former Gaumont State Theatre, Kilburn. Opened as the Gaumont State in December 1937 with a stage show, the first film following 7 days later. Designed by George Coles, it was the largest cinema built in England, with 4,004 seats in stalls and balcony. There was a full stage with a fly tower, scenery workshop, large orchestra pit, and 20 dressing rooms. Elsewhere in the vast building was a restaurant seating 400, and extremely opulent and spacious foyers. In 1960 the huge rear stalls area under the balcony was sealed off to become a ballroom (later bingo hall), leaving the front stalls and balcony as a cinema / theatre seating 2,042. The restaurant became a second screen in 1975. The main screen closed in September 1980, followed by the second screen in 1981. The sub-divided stalls were restored as a single unit for bingo on a levelled floor. The second screen reopened as the Odeon, 1985 until 1990. The bingo club (Mecca) closed in August 2007 and the building was shuttered, eventually being sold as a church in 2008, however planning permission was protracted, and eventually the State reopened under the control of Ruach City Church in July 2010, since then much restoration work has taken place. The State is grade 2* listed.

Kilburn, London Borough of Brent, North London, England - Ruach City Church (former Gaumont State Theatre), Kilburn High Road / Willesden Lane

August 2022

cansr

ruach

toon

The theme for this thing was based on the prophecies of Ezekiel chapter 37

The Valley of Dry Bones

1 The hand of the LORD was on me, and he brought me out by the Spirit of the LORD and set me in the middle of a valley; it was full of bones. 2 He led me back and forth among them, and I saw a great many bones on the floor of the valley, bones that were very dry. 3 He asked me, “Son of man, can these bones live?”

I said, “Sovereign LORD, you alone know.”

4 Then he said to me, “Prophesy to these bones and say to them, ‘Dry bones, hear the word of the LORD! 5 This is what the Sovereign LORD says to these bones: I will make breath [wind/spirit ~ Ruach] enter you, and you will come to life. 6 I will attach tendons to you and make flesh come upon you and cover you with skin; I will put breath in you, and you will come to life. Then you will know that I am the LORD.’”

7 So I prophesied as I was commanded. And as I was prophesying, there was a noise, a rattling sound, and the bones came together, bone to bone. 8 I looked, and tendons and flesh appeared on them and skin covered them, but there was no breath in them.

9 Then he said to me, “Prophesy to the breath; prophesy, son of man, and say to it, ‘This is what the Sovereign LORD says: Come, breath, from the four winds and breathe into these slain, that they may live.’” 10 So I prophesied as he commanded me, and breath entered them; they came to life and stood up on their feet—a vast army.

11 Then he said to me: “Son of man, these bones are the people of Israel. They say, ‘Our bones are dried up and our hope is gone; we are cut off.’ 12 Therefore prophesy and say to them: ‘This is what the Sovereign LORD says: My people, I am going to open your graves and bring you up from them; I will bring you back to the land of Israel. 13 Then you, my people, will know that I am the LORD, when I open your graves and bring you up from them. 14 I will put my Spirit in you and you will live, and I will settle you in your own land. Then you will know that I the LORD have spoken, and I have done it, declares the LORD.’”

---------------

The point in this partly being that we often consider things or people worthless.. dry bones.. long gone.. dead.. (i.e. drug addicts, bums.. or even money crazed bankers lost in their love for money..)

While these people can be mighty tools in the hand of God.. they can be transformed.. be enlightened.. changed..

If they meet the real Jesus

[Sexy Princess] Love Games

Compatible with

-Maitreya

-Slink Hourglass

-Slink Physique

-Belleza Venus, Isis , Freya

Tonic Fine & Curvy

Opens on the March 7th – end of the month- maps.secondlife.com/secondlife/Elmira/95/57/23?fbclid=IwA...

Lipstick – MJN Sendnudes (marketplace.secondlife.com/p/MJN-SendNudes-FATPACK/168244...)

Eyeshadow– Closeup shadow by MJN

Hair– Shi hair Ruach

Arabic: غراب القيظ, غراب القيظ غراب Azerbaijani: Zağca Belarusian: Грак Bulgarian: Полска врана Breton: Ar vran koad, Bran-goad Catalan: Gralla, Graula Catalan (Balears): Graula Valencian: Gralla Czech: Havran polní Chuvash: Курак, Хура курак Welsh: Brân bigwen, Ydfran Danish: Råge German: Saatkraehe, Saatkrähe Greek: Χαβαρόνι Greek (Cypriot): Χαβαρόνι Emiliano-romagnolo: Gratùsa English: Eurasian Rook, Rook Esperanto: frugilego, kampokorvo Spanish: Graja, Graja Común, Grajilla daurica Estonian: Künnivares Basque: Graula, Ipar-bele, Ipar-belea Finnish: Mustavaris Faroese: Felliskráka, Hjaltakráka, Hjaltlandskráka French: Corbeau freux Friulian: Çore cenerine, Cornete Frisian: Roek Irish: Préachán, Rúach, Rúcach Gaelic: Creumhach, Ròcais, Rocas, Rocus Galician: Corvo cereixeiro, Gralla grande, Graula Manx: Trogh Hebrew: עורב מזרע Croatian: Gačac, Vrana gačac Hungarian: Vetési varjú Armenian: [Sermnakagh ], Սերմնաքաղ Icelandic: Bláhrafn Italian: Corvo, Corvo eurasiatico, Corvo nero Japanese: Mi-yama garasu, miyamagarasu, Miyama-garasu Japanese: ミヤマガラス Georgian: ჭილყვავი Kazakh: Таған + Ақтұмсық қарға, Ұзақ, Шауқарға Korean: 떼까마귀 Karachay-Balkar: Чаука Karelian: Nuakku, Nyäkky Cornish: Bran-dre, Chogha Latin: Corvus frugilegus, Corvus frugilegus frugilegus, Trypanocorax frugilegus Ladin: Agacion, Cornacia Lithuanian: Kovas Latvian: Krauķis, Sējas vārna Macedonian: Врана гагец, Полска врана Mongolian: Турлиах Maltese: Korvu Dutch: Roek Norwegian: Blåkråke, Kornkråke Occitan: Gralhon Polish: gawron Portuguese: gralha calva, Gralha-calva Romansh: Corv champester, Curnagl grisch, Tulaun Russian: Grach, Грач Scots: Creumhach, Rocas, Rocus Slovak: Havran čierny, Havran pol'ný, havran poľný Slovenian: poljska vrana Albanian: Korbi sqepbardhë Serbian: gacac, gačac, Гачак, Гачац Swedish: Råka Turkish: Ekin kargası, ekin kargasy Tatar: Çavke Tuvinian: Бөлүглежир каарган Ukrainian: Грак Sorbian, Lower: Kawka Sorbian, Upper: Kawka Chinese: [tu bi wu-ya], [tu bi ya], 禿鼻烏鴉, 禿鼻鴉, 秃鼻乌鸦

Gaumont State Theatre, now the Ruach City Church, 197-199 Kilburn High Road, London, England. From Cinema Treasures: Initially a project of the Hyam’s brothers, the Gaumont State Theatre was opened by Gaumont Super Cinemas on December 20, 1937 with an ‘All Star Variety Show’ on stage, with stars appearing including Gracie Fields, Larry Adler, George Formby, and Henry Hall and His Band. The opening was broadcast live on the BBC radio. The variety show had a five days run, then the Gaumont State Theatre showed its first film program: Shirley Temple in “Wee Willie Winkie” and Jed Prouty in “Big Business”. The Gaumont State Theatre was the largest movie palace ever built in England and the third largest in the United Kingdom. The theatre’s 4,004 seating capacity was split between a massive 1,356 seat balcony and an orchestra level which seated 2,648.

According to Allen Eyles book ‘Gaumont British Cinemas’, the State name and 120-foot skyscraper tower that adorns the facade were in tribute to the Empire State Building in New York, which had opened just a few years earlier. The tower contained a fully equipped radio studio. The Gaumont State’s American Deco-inspired exterior is a sharp contrast to its green Italian Renaissance interior. The auditorium has a massive circular dome in the ceiling. The fully equipped stage was one of the largest in the country, being 100 feet wide and 50 feet deep. There were 20 dressing rooms and a scenery workshop. The orchestra pit was on a lift which could be raised to stage level, and the 4Manual Wurlitzer organ console was located on the right-hand side of the proscenium and was on a revolving lift. The Gaumont State Theatre also had a 400 seat restaurant which had its own separate entrance on Willesden Lane around the corner from the main theatre entrance, and the restaurant could also be accessed from the main theatre foyer.

In October 1940, the Gaumont State Theatre was closed, due to war-time conditions and it re-opened in November 1940, initially operating at weekends only. The huge stage was always well used over the years and hosted pantomimes, circus, ballet, and concerts (Frank Sinatra appeared in July 1953). The late Queen Mary (King George VI’s mother, and grandmother of the current Queen Elizabeth II), paid regular visits to the Gaumont State Theatre on matinee performances, saying she preferred to attend there rather than the West End cinemas.

In March 1957, a former waiting space beneath the restaurant was converted into a Victor Sylvester Dance Studio. Gaumont British Theatres became part of Circuits Management Association in the 1950’s, which by 1960 became the Rank Organization. The Gaumont State Theatre was closed on January 16, 1960 for conversion of the rear stalls seating area under the balcony into a ballroom. A drop wall was constructed across the underside of the balcony. Cinema use continued in the front stalls (when required) and in balcony seating areas. Later the ballroom became a Top Rank Bingo Club. A second screen, seating 202, was opened on 23rd November 1975 by converting the former restaurant to cinema use.

The main auditorium cinema closed on 18th September 1980 and the second screen closed on 10th October 1981. Bingo continued in the former sectioned off, rear stalls seating section. Soon afterwards, the main floor was leveled off and Top Rank Bingo became the attraction in the entire auditorium when the drop wall was taken down.

The second screen located in the former restaurant re-opened in December 1985 as the Odeon Kilburn and this was closed on 14th June 1990, remaining shuttered ever since. The Top Rank Bingo Club later became Mecca Bingo Club and operated until 19th August 2007.

The Gaumont State Theatre is still Kilburn’s most identifiable landmark and a treasured part of its past. Those who remember its days as a super cinema or would like to catch a glimpse of its past could still occasionally visit the State when the local chapter of the American Theater Organ Society puts on a show. Donald MacKenzie, the house organist for the Odeon Leicester Square and many other organists have given regular recitals on the theatre’s original Wurlitzer theatre organ.

The building reopened as the Ruach City Church in July 2010.

Ruach-Gabit Festival 2015

Via Crucis.

12. Estação: Jesus morre na cruz

INRI.

No Cristianismo Rosacruz, ainda é usada como as iniciais latinas das palavras hebraicas que representam os quatro elementos: Iam (água), Nour (fogo), Ruach (ar) e Iabeshah (terra)

I have a damn fine fashion blog called "Charisma" and you can find it here:Charisma .

I hope you enjoy your visit! ✩

Today's look:

Head: Lelutka EvoX Avalon 4.0

Body: Maitreya Lara 5.3

Skin: Amara Beauty

Eyes: Avi-Glam

Hair: Shi Hair - Ruach - E. Metallic

Hairbase: Angel Eyes

Shape: Mine - Laurna - Lara 5.3 - 2024

Enhancements by:

Cazimi, Lucci, Eventyra, Izzie's, addon+, OYI, Warpaint

Apparel:

Dress: Spirit - Alfhildr Dress with Belt - Black

Footwear: Ison - Siyu Velvet Bootie - Fatpack

Jewelry:

Piercing: Punch - Tear Heart - Gold

Earrings: E. Marie - Monica Earrings - Golds

Gemstone Ring: Orsini Jewel Care - Christina Ring - Gold

Accessory:

Garter: Hanatsumi - Cerberus

Poses:

STUN Poses - Fliw & Sakiura

Streatham Hill Theatre, London. Designed by W R G Sprague and W H Barton, the theatre opened in 1929 with close on 3,000 seats over three levels. It was badly damaged in WW2, but restored and reopened in 1950. Later becoming a bingo hall, it is now in use as a church, but the highly ornate interior is almost intact. Grade 2 listed. Seen on a London Open City, Open House day 2026.

London Borough of Lambeth, Streatham Hill, London, England - Streatham Hill Theatre Ruach Church, Streatham Hill / Barrhill Road / Blairderry Road

September 2026

im Neuen Hafen von Bremerhaven, am Pier festgemacht gesehen.

Worship Explosion Ensemble UK 2017 South African Gospel Music at Ruach City Church London Asandra Jezile Musical artist

Streatham Hill Theatre, London. Designed by W R G Sprague and W H Barton, the theatre opened in 1929 with close on 3,000 seats over three levels. It was badly damaged in WW2, but restored and reopened in 1950. Later becoming a bingo hall, it is now in use as a church, but the highly ornate interior is almost intact. Grade 2 listed. Seen on a London Open City, Open House day 2026.

London Borough of Lambeth, Streatham Hill, London, England - Streatham Hill Theatre Ruach Church, Streatham Hill / Barrhill Road / Blairderry Road

September 2026

暉蓮(HWIRYEON) / 東靑木仁

owner : Ruach

former Gaumont State Theatre, Kilburn. Opened as the Gaumont State in December 1937 with a stage show, the first film following 7 days later. Designed by George Coles, it was the largest cinema built in England, with 4,004 seats in stalls and balcony. There was a full stage with a fly tower, scenery workshop, large orchestra pit, and 20 dressing rooms. Elsewhere in the vast building was a restaurant seating 400, and extremely opulent and spacious foyers. In 1960 the huge rear stalls area under the balcony was sealed off to become a ballroom (later bingo hall), leaving the front stalls and balcony as a cinema / theatre seating 2,042. The restaurant became a second screen in 1975. The main screen closed in September 1980, followed by the second screen in 1981. The sub-divided stalls were restored as a single unit for bingo on a levelled floor. The second screen reopened as the Odeon, 1985 until 1990. The bingo club (Mecca) closed in August 2007 and the building was shuttered, eventually being sold as a church in 2008, however planning permission was protracted, and eventually the State reopened under the control of Ruach City Church in July 2010, since then much restoration work has taken place. The State is grade 2* listed.

cinematreasures.org/theaters/1478

Kilburn, London Borough of Brent, North London, England - Ruach City Church (former Gaumont State Theatre), Kilburn High Road / Willesden Lane

August 2022

By George Coles

Built 1937

Initially a project of the Hyam’s brothers, the Gaumont State Theatre was opened by Gaumont Super Cinemas on 20th December 1937 with an ‘All Star Variety Show’ on stage, with stars appearing including Gracie Fields, Larry Adler, George Formby and Henry Hall & his Band and the opening was broadcast live on the BBC radio. The variety show had a five days run, then the Gaumont State Theatre showed its first film programme; Shirley Temple in “Wee Willie Winkie” and Jed Prouty in “Big Business” plus a stage show from 27th December 1937.

The Gaumont State Theatre was the largest movie palace ever built in England and the third largest in the United Kingdom. The theatre’s 4,004 seating capacity was split between a massive 1,356 seat balcony and an orchestra level which seated 2,648. Although it was large, beautiful, and meticulously designed, internally it was considered ‘old fashioned’, as earlier Gaumont Palace theatres were more directly influenced by the popularity of an Art Deco style.

According to Allen Eyles book ‘Gaumont British Cinemas’, the ‘State’ name and 120-foot skyscraper tower that adorns the facade were in tribute to the Empire State Building, New York which had opened just a few years earlier. The tower contained a fully equipped radio studio. The Gaumont State’s American Deco-inspired exterior is a sharp contrast to its green Italian Renaissance interior. The theatre’s interior still works well, especially in its massive and gilded foyer lobby. Its enormous chandelier is modeled after one in the Banqueting Hall at Buckingham Palace and still illuminates the building to this day (see photo). The auditorium has a massive circular dome in the ceiling. The fully equipped stage was one of the largest in the country, being 100 feet wide and 50 feet deep. There were 20 dressing rooms and a scenery workshop. The orchestra pit was on a lift which could be raised to stage level, and the 4Manual Wurlitzer organ console was located on the right-hand side of the proscenium and was on a revolving lift. The organ has 16Ranks and had a grand piano attached and was opened by Sydney Torch. The Gaumont State Theatre had a 400 seat restaurant which had its own seperate entrance on Willesden Lane around the corner from the main theatre entrance, and the restaurant could also be accessed from the main theatre foyer.

In October 1940, the Gaumont State Theatre was closed, due to war-time conditions and it re-opened in November 1940, initially operating at weekends only. The huge stage was always well used over the years and hosted pantomimes, circus, ballet (Alicia Markova & Anton Dolin appeared in November 1949), and concerts (Frank Sinatra appeared in July 1953). The late Queen Mary (King George VI’s mother, and grandmother of the current Queen Elizabeth II, paid regular visits to the Gaumont State Theatre on matinee performances, saying she prefered to attend there rather than the West End cinemas.

In March 1957 a former waiting space beneath the restaurant was converted into a Victor Sylvester Dance Studio. Gaumont British Theatres became part of Circuits Management Association in the 1950’s, which by 1960 became the Rank Organisation. The Gaumont State Theatre was closed on 16th January 1960 for conversion of the rear stalls seating area under the balcony into a ballroom. A drop wall was constructed across the underside of the balcony. Cinema use continued in the front stalls (when required) and in balcony seating areas. Later the ballroom became a Top Rank Bingo Club. A second screen, seating 202, was opened on 23rd November 1975 by converting the former restaurant to cinema use.

The main auditorium cinema closed on 18th September 1980 and the second screen closed on 10th October 1981. Bingo continued in the former sectioned off, rear stalls seating section. Soon afterwards, the main floor was leveled off and Top Rank Bingo became the attraction in the entire auditorium when the drop wall was taken down.

The second screen located in the former restaurant re-opened in December 1985 as the Odeon Kilburn and this was closed on 14th June 1990, remaining shuttered ever since. The Top Rank Bingo Club later became Mecca Bingo Club and operated until 19th August 2007.

The Gaumont State Theatre is still Kilburn’s most identifiable landmark and a treasured part of its past. Those who remember its days as a super cinema or would like to catch a glimpse of its past could still occasionally visit the State when the local chapter of the American Theater Organ Society put on a show.

Donald MacKenzie, the house organist for the Odeon Leicester Square and many other organists have given regular recitals on the theatre’s original Wurlitzer theatre organ.

It was designated a Grade II Listed building on 10th October 1980 and has now been upgraded to a Grade II* Listed building.

In January 2008, the building was purchased by a church, but remained shuttered, awating planning permission for a change of use. It was re-opened as the Ruach Ministries Church on 10th July 2010.

(source www.cinematreasures.org)

Fünfarmiger Leuchter: Symbolik: Die fünf Arme repräsentieren im jüdischen Mystizismus (Kabbala) die fünf Ebenen der menschlichen Seele: Nefesch (die vitale Seele), Ruach (der Geist), Neschama (der Atem/höhere Seele), Chayah (die lebendige Essenz) und Jechida (die göttliche Einheit).

Five-branched candelabrum: Symbolism: In Jewish mysticism (Kabbalah), the five branches represent the five levels of the human soul: nefesh (the vital soul), ruach (the spirit), neshamah (the breath/higher soul), chayah (the living essence), and yechidah (divine unity).

Lord Reign In Me - Brenton Brown

Your Whisper To My Soul - Brian Houston

Here Is The Risen Son - Michael Sandeman

Let Your Living Waters Flow - John Watson

Come Let Us Worship - Nathan Fellingham

Beautiful Saviour - Stuart Townend

The Father's Song - Matt Redman

We Will Dance - David Ruis

Wonderful Grace - John Pantry

O, My Soul, Arise And Bless You Maker - Stuart Townend

The Heart Of Worship - Matt Redman

Fire - Paul Oakley

River Of Fire - Stuart Townend

Sound The Trumpet - Dave Bilborough

Say The Word - Stuart Townend

The Spirit Of The Sovereign Lord - Andy Park

Like A Child - Stuart Townend

Be Still And Know - Lex Loizides

I'm Grateful - Kate Simmonds & Stuart Townend

I Won't Let Go - Stuart Townend

I See The Lord - Paul Oakley

Shout To The Lord - Darlane Zschech

I Stand Amazed - Paul Oakley

II These Days Of Refreshing - David Fellingham

The Father's Embrace - Stuart Townend

Once Again - Matt Redman

To Be In Your Presence - Noel Richards

From The Squaler Of A Borrowed Stable / Immanuel - Stuart Townend

How Good It IS - Lou & Nathan Fellingham

Day Of Favour - David Fellingham

Season Of Singing - Stuart Townend

Pour Over Me - Stuart Townend

We Will Go - Stuart Townend

The River Is Here - Andy Park

Breaking Out - Stuart Townend & Gary Sadler

Holy, Holy - Nathan Fellingham

Ruach - David Fellingham

You Are Good To Me - Stuart Townend

Because Of You - Paul Oakley

Love's Compelling Power - David Fellingham

Come By The Blood - Steve & Vicki Cook

We Behold Your Glory - David Fellingham And Nathan Fellingham

Jesus You Alone - Tim Hughes

Let Everything That Has Breath - Matt Redman

Amazing Grace - Nathan Fellingham

Lord Send The Rain - David Fellingham

Our God Reigns - Nathan Fellingham

You Are Good - Matt Redman

What A Faithful God - Robert Critchley & Dawn Critchley

Jesus Is Exalted - Allan Rose

I'm Gonna Trust In God - Steve Earle

Can You Hear Him Singing - Michael Sandemand

By Your Blood - David Fellingham

Author Of My Life - Judy Pruett

Beloved And Blessed - Stuart Townend

The Lord's My Shepherd - Stuart Townend

Show Your Power - Kevin Prosch

Mourning To Dance - Tommy Walter

Let There Be Joy - Bruce Napier

There Is A New Sing - Kate & Miles Simmonds

It's All About You - Paul Oakley

Covenant Of Grace - Don Wallace

This I Know - Mark Altrogge

There Is A Day - Nathan Fellingham

We Are Your Inheritance - Paul Oakley

How Deep The Father's Love - Stuart Townend

The King Has Come - Stuart Townend And J K Jamieson

Jesus Friend Of Sinners - Paul Oakley

Great In Power - Russell Fragar

You're Worthy Of My Praise - David Ruis

I Give You My Heart - Reuben Morgan

Touching Heaven Changing Earth - Reuben Morgan

In Every Circumstance Of Life - David Fellingham

Breathe On Me Breath Of God - David Fellingham

Be The Centre - Michael Frye

Grace Upon Grace - Mark Altrogge

All Around The World - Paul Oakley

Great Us The Lord - David Fellingham And Nathan Fellingham

Irresistable - Darlene Zschech

Who Is There Like You - Paul Oakley

Let It Rain - Paul Oakley

Oh That We Might See Your Glory - Terry Virgo And Stuart Townend

In Christ Alone - Stuart Townend And Keith Getty

I Love Your Love - Paul Oakley

There's A River - Malcolm Du Plessis

Dancing On Holy Ground - Evan Rogers

Lord We Long To See Your Glory - Natham Fellingham

The Power Of Your Love - Geoff Bullock

Child Of The King - Terry Virgo And Stuart Townend

Here I Am To Worship - Tim Hughes

Send The Fire - William Booth

Let God Arise - David Fellingham

This Is How We Overcome - Reuben Morgan

Face To Face - Chris Dupre

Jesus Friend Forever - Martin Smith

All Consuming Fire - Paul Oakley

You Said - Reuben Morgan

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Joyful songs and dancing greet the arrival of the head of the UN Mission in South Sudan to Ganyiel, located in the north of the country.

That warm hospitality, however, inadvertently masks the reality on the ground.

Some 300 metres away from the singing and dancing, 11-year-old Ruach Matjang Kuol lies writhing in pain, at a makeshift medical centre.

He looks stoic, but can hardly speak, so his mother, Rhoda Nyawika, volunteers to tell his sorrowful tale.

“We were just hiding under a tree as fighting took place in Rubkway payam (district), in Mayandit County,” she says. “And a [bullet] just came and [hit] the boy. We don’t know where the [bullet] came from. And people from government came and chased us out of our homes. We don’t know why,” she adds, concluding the short story of how Ruach came to find himself confined to a hospital bed.

Shot at the end of May this year, he’s one of the civilians who have borne the brunt of a brutal war that has been going on since December 2013.

At the makeshift medical centre, more than 40 other victims like Ruach are being treated for bullet wounds.

The head of the UN Mission has come to see them, as a part of his visit to assess the impact of ongoing fighting on civilians. Ruach’s name and story is what first comes to his mind when asked to describe what he saw at the medical facility.

“A young 11-year-old boy, his name is Ruach, who had been shot through the abdomen. He’s 11 years old… I saw other children there who had also been shot; a young girl who had lost part of her arm…”

Run by the International Committee of the Red Cross (ICRC), the makeshift medical centre in the opposition-controlled area, is the only source of hope for the victims – 90% of them civilians.

That staggering figure is given by Benny Bosan, the centre’s Head Nurse.

“We receive most of the patients with gunshot wounds. Most of our patients are civilians, but we also receive some iO [SPLA in Opposition soldiers],” he says.

A short helicopter flight away, in Leer, Ghanaian peacekeepers guard a temporary protection area, providing sanctuary to some 2000 fleeing civilians.

Mr. Shearer was here just over a month ago, to see first-hand the impact of the fighting on civilians. Today, he is back to see what has changed since he ordered a reinforcement of UN patrols in the area to better protect civilians under threat and deter more fighting. At the temporary protection area, he endures a heavy downpour to listen to harrowing tales of the displaced civilians

“The situation is still bad,” he says, later. “There’s still ongoing fighting, although that seems to have reduced a bit. The numbers of people that are coming to our base for refuge had gone up, but I understand now that a few hundred have just left, so we have about two thousand people taking refuge with us,” he says, quickly adding: “But the most appalling thing that I am hearing are the stories from people; what’s happened to them; how they were targeted by soldiers.”

Because of these stories, the head of the UN Mission has made it a point to meet with area leaders in the Unity region, from the government and the opposition parties to the conflict: Deputy Governor Joseph Nhial in Ganyiel; Governor John Matip Galok in Leer, Southern Liech; and Governor Them Machar of Ruweng. At every meeting, he has been delivering the same, strong message:

“I told them that targeting of civilians is completely unacceptable,” he says, unequivocally.

“It’s one thing to fight against each other for political or strategic military advantage, he goes on. “It’s quite another thing to go into a village and shoot women and children, and burn their houses down. That’s completely unacceptable, under international law of any description,” says, invoking the international law: “And our feeling is very much that we need to find those responsible, to make sure that impunity does not continue to reign in that area.”

According to the head of the UN Mission, the conflict in South Sudan has become more complex than when it broke out in December 2013. Ceasefire agreements, including one signed just over 5 months ago, have been violated numerous times by parties to the conflict.

As civilians like Ruach wait in pain, the head of the UN Mission in South Sudan multitasks between protecting civilians as the mandate of his Mission demands, and reaching out to local leaders to both remind them of their obligations under international law, and stress the urgent need for a political solution to the conflict.

Photo ; UNMISS / Eric Kanalstein

Blue Bird 3800 & AmTran 3800, Jewish Camp buses

Joyful songs and dancing greet the arrival of the head of the UN Mission in South Sudan to Ganyiel, located in the north of the country.

That warm hospitality, however, inadvertently masks the reality on the ground.

Some 300 metres away from the singing and dancing, 11-year-old Ruach Matjang Kuol lies writhing in pain, at a makeshift medical centre.

He looks stoic, but can hardly speak, so his mother, Rhoda Nyawika, volunteers to tell his sorrowful tale.

“We were just hiding under a tree as fighting took place in Rubkway payam (district), in Mayandit County,” she says. “And a [bullet] just came and [hit] the boy. We don’t know where the [bullet] came from. And people from government came and chased us out of our homes. We don’t know why,” she adds, concluding the short story of how Ruach came to find himself confined to a hospital bed.

Shot at the end of May this year, he’s one of the civilians who have borne the brunt of a brutal war that has been going on since December 2013.

At the makeshift medical centre, more than 40 other victims like Ruach are being treated for bullet wounds.

The head of the UN Mission has come to see them, as a part of his visit to assess the impact of ongoing fighting on civilians. Ruach’s name and story is what first comes to his mind when asked to describe what he saw at the medical facility.

“A young 11-year-old boy, his name is Ruach, who had been shot through the abdomen. He’s 11 years old… I saw other children there who had also been shot; a young girl who had lost part of her arm…”

Run by the International Committee of the Red Cross (ICRC), the makeshift medical centre in the opposition-controlled area, is the only source of hope for the victims – 90% of them civilians.

That staggering figure is given by Benny Bosan, the centre’s Head Nurse.

“We receive most of the patients with gunshot wounds. Most of our patients are civilians, but we also receive some iO [SPLA in Opposition soldiers],” he says.

A short helicopter flight away, in Leer, Ghanaian peacekeepers guard a temporary protection area, providing sanctuary to some 2000 fleeing civilians.

Mr. Shearer was here just over a month ago, to see first-hand the impact of the fighting on civilians. Today, he is back to see what has changed since he ordered a reinforcement of UN patrols in the area to better protect civilians under threat and deter more fighting. At the temporary protection area, he endures a heavy downpour to listen to harrowing tales of the displaced civilians

“The situation is still bad,” he says, later. “There’s still ongoing fighting, although that seems to have reduced a bit. The numbers of people that are coming to our base for refuge had gone up, but I understand now that a few hundred have just left, so we have about two thousand people taking refuge with us,” he says, quickly adding: “But the most appalling thing that I am hearing are the stories from people; what’s happened to them; how they were targeted by soldiers.”

Because of these stories, the head of the UN Mission has made it a point to meet with area leaders in the Unity region, from the government and the opposition parties to the conflict: Deputy Governor Joseph Nhial in Ganyiel; Governor John Matip Galok in Leer, Southern Liech; and Governor Them Machar of Ruweng. At every meeting, he has been delivering the same, strong message:

“I told them that targeting of civilians is completely unacceptable,” he says, unequivocally.

“It’s one thing to fight against each other for political or strategic military advantage, he goes on. “It’s quite another thing to go into a village and shoot women and children, and burn their houses down. That’s completely unacceptable, under international law of any description,” says, invoking the international law: “And our feeling is very much that we need to find those responsible, to make sure that impunity does not continue to reign in that area.”

According to the head of the UN Mission, the conflict in South Sudan has become more complex than when it broke out in December 2013. Ceasefire agreements, including one signed just over 5 months ago, have been violated numerous times by parties to the conflict.

As civilians like Ruach wait in pain, the head of the UN Mission in South Sudan multitasks between protecting civilians as the mandate of his Mission demands, and reaching out to local leaders to both remind them of their obligations under international law, and stress the urgent need for a political solution to the conflict.

Photo ; UNMISS / Eric Kanalstein

Worship Explosion Ensemble UK 2017 South African Gospel Music at Ruach City Church London Asandra Jezile Musical artist